Ana R. Alonso-Minutti is a music scholar who combines musicological and ethnomusicological inquiries into the study of contemporary musical practices across the Americas. Her research focuses on experimental and avant-garde expressions, music traditions from Mexico and the US-Mexico border, and music history pedagogy. She has presented her work in the Americas and Europe and has published her research in English and Spanish venues. She is assistant professor of music and faculty affiliate of the Latin American and Iberian Institute at the University of New Mexico.

Eduardo Herrera is assistant professor in ethnomusicology and music history at Rutgers, The State University of New Jersey. He specializes in contemporary musical practices from Latin America. His research interests include music and gender, art and the legitimation of elites, and music during the Cold War. He has done historical and ethnographic research in topics including Argentinean and Uruguayan avant-garde music, masculinity and violence in participatory chanting in soccer stadiums, and music and postcoloniality in Latin America.

Alejandro L. Madrid is a music scholar whose research focuses on the intersection of modernity, tradition and globalization in music and expressive culture from Mexico, the U.S.-Mexico border, and the circum-Caribbean. His books have received the AMS's Robert M. Stevenson and Ruth A. Solie awards, the Béla Bartók Award from the ASCAP Foundation, the Mexico Humanities Book award from LASA, IASPM's Woody Guthrie Book Award, and the Casa de las Américas Musicology Prize. He is professor of musicology and ethnomusicology at Cornell University.

• List of Figures


• List of Music Examples


• List of Tables


• List of Contributors


• Acknowledgements


• About the Companion Website


• Chapter 1. The Practices of Experimentalism in Latin@


• and Latin American Music: An Introduction


• by Ana R. Alonso-Minutti, Eduardo Herrera, and


• Alejandro L. Madrid


• I. Centers and Institutions


• Chapter 2. "That's Not Something to Show in a Concert": Experimentation and Legitimacy at the Centro Latinoamericano de Altos Estudios Musicales


• by Eduardo Herrera


• Chapter 3. Experimental Alternatives: Institutionalism, Avant-gardism, and Popular Music at the Margins of the Cuban Revolution


• by Susan Thomas


• II. Beyond the Limits of Hybridity


• Chapter 4. "I Go against the Grain of Your Memory": Iconoclastic Experiments with Traditional Sounds in Northeast Brazil


• by Dan Sharp


• Chapter 5. Peruvian Cumbia at the Theoretical Limits of Techno-Utopian Hybridity


• by Joshua Tucker


• Chapter 6. Experimentalism as Estrangement: Café Tacvba's Revés/Yosoy


• by Alejandro L. Madrid and Pepe Rojo


• III. Anti-Colonial Practices


• Chapter 7. "Gatas y Vatas": Female Empowerment and Community-Oriented Experimentalism


• by Ana R. Alonso-Minutti


• Chapter 8. Noise, Sonic Experimentation, and Interior Coloniality in Costa Rica


• by Susan Campos Fonseca


• IV. Performance, Movements, and Scenes


• Chapter 9. "We Began from Silence": Toward a Genealogy of Free Improvisation in Mexico City: Atrás del Cosmos at Teatro El Galeón, 1975-1977


• by Tamar Barzel


• Chapter 10. Experimentation and Improvisation in Bogotá at the End of the Twentieth Century


• by Rodolfo Acosta


• Chapter 11. Experimental Music and the Avant-garde in Post-1959 Cuba: Revolutionary Music for the Revolution


• by Marysol Quevedo


• Chapter 12. Performance, Resistance, and the Sounding of Public Space: Movimiento Música Más in Buenos Aires, 1969-73


• by Andrew Raffo Dewar


• Chapter 13. Afterword: Locating Hemispheric Experimentalisms


• by Benjamin Piekut


• Bibliography